The eerie and paradoxical nature of human existence
- Yooyeon Nam
- 26. März
- 8 Min. Lesezeit
Interview with Yooyeon Nam
1. Please tell us something about your background and your art journey so far.
Hi, my name is Yooyeon Nam. I am an oil painter living and working in New York City, originally from Seoul, South Korea. My journey as a painter began about a decade ago, in my early 20s, while I was studying business at Yonsei University in Seoul. I went to the business school, believing that I wanted to support the art industry and that it is a more practical way to make a living. Although I always had a passion for painting and drawing, it was merely a hobby at the time.
One day, a friend convinced me to attend a music festival with her, where I was deeply inspired by a rock band. Seeing the band performance in person sparked a desire to become an artist myself rather than a supporter of other artists. Once I made that decision, it was easy to take an action. I went to an art school, Pratt Institute in Brooklyn, New York, as it was the best and fastest way for me to study art and learn how to express my ideas. I earned a BFA in Painting from Pratt, which became my second bachelor's degree.
During my final year at Pratt, I developed my original character, which I am still painting. With the series of paintings with the characters, I have had solo exhibitions, including “No Home in Wonderland” at A Space gallery, "Perfect Kidnapping" with ChaShaMa, and the virtual showcase "Kidnapped" with Artists Living Room, all in NYC, along with numerous group shows and fairs. In 2024, I participated in artist residencies such as the SVA residency, ChaNorth, and Woodstock Byrdcliffe. I recently received an O-1 visa, commonly known as the artist visa, which allows me to stay in the United States. My plan for the next few years is to focus fully on my painting practice.
2. Describe what a normal day looks like as an artist.
Right now, I focus on painting in my home studio. I wake up around 10 a.m., have brunch, and take care of errands like washing dishes, feeding my cats, and watering plants, all while making a pour-over coffee – my small pleasure for my mouth and energy. I spend most of my day painting, applying for opportunities, and answering interviews like this. My routine often involves sketching first, followed by painting.
Daily tasks vary from day to day. If I have plans with a friend to visit a gallery or museum, I’ll go out for that. In the evenings, I often attend openings to support my artist or curator friends. Otherwise, I cook dinner, eat, take a shower, and wind down by watching movies or shows.
3. Can you tell us more about the theme in your art and your inspiration?
My work, through my characters, explores the eerie and paradoxical nature of human existence through my original characters. I investigate what it means to be an outsider in both my own and chosen cultures. Beyond cultural hardships, I am an outsider from my own life, as life itself is inherently strange, lacking innate meaning or predetermined purpose. This eerie discomfort is further evoked through a wide array of colors and mysterious narratives. By depicting my overly cute and adorable characters as suffering or being violent, I accentuate the sense of uncanniness, paradoxically intensifying the seriousness of my narratives and themes.
My round-faced, nose-less characters reflect both my sense of displacement and my cultural heritage. Their blank faces with unsettling, almost otherworldly eyes echo norms where direct eye contact and overt emotional expression are considered impolite, a contrast to environments where eye contact is expected. I combine this alienation with my admiration for Korean Buddha sculptures with idealized body forms that are believable, yet anatomically incorrect—qualities I aim to capture in my work.
4. How does your art life impact other parts of your life?
I try to get the most out of my experiences to find inspiration. Anytime I see a scene with a great color combination – sunlight on a leaf, reflections on water, and a sunset, etc. – I take a picture, take the colors, and try to apply them to my paintings. The color coherence found in nature is perfect and serves as a guide for some of my works.
Even from writings or awkward translations, I imagine narratives to interpret and apply to my art. For instance, I came up with the narrative for my painting, ‘Oh Well, the Truth is…’, after seeing a poor translated advertisement in the subway. The ad attempted to say ‘true’, but the Korean word used for the translation was strange. It technically meant ‘true,’ but was not the right fit. This made me think about a situation where someone is forced to adapt to a bizarre world, but cannot fit in perfectly, leading to their arrest for being a ‘weirdo.’
For most of my paintings, I draw inspiration from everyday life, finding stories in the ordinary and the unexpected.
5. Could you share any difficulties and hardships you had to face in life and how or if you managed/overcame them?
The first difficulty I faced was realizing that I wanted to be an artist, not a businesswoman in the art industry. For a long time, especially in high school, I believed I wanted to work in film production. However, I eventually realized that what fascinated me were the scenes in the films themselves, and I wanted to create art rather than market or produce it. The hardest part was persuading myself to take this path, as deciding to become a painter was daunting due to concerns about future financial stability. I asked myself what I would regret the most a second before my last breath, and I found my answer: I would regret not trying to become a painter if I don’t try. That clarity helped me overcome my doubts. My family supported me wholeheartedly because they knew I was serious about painting.
The second difficulty was obtaining a visa to stay in New York after graduation. As I am from Korea, there are many restrictions on remaining in the U.S. I wanted to stay because I had many artist friends here, there were numerous galleries and museums, and I could connect with more artists and art lovers who appreciated my work. To get the visa, I applied to everything I could find and participated in countless shows, residencies, and interviews, which also helped advance my career. I also struggled at my workplace—a painter’s studio—that initially promised to support me but ran into its own troubles and couldn’t help when I was about to apply for the visa. Even though my original plan was ruined, thanks to all my prior efforts and applications, I received support from other friends. In the end, I successfully applied for and received the visa.
My latest difficulty is more of a happy challenge, as it revolves around painting: How can I come up with better compositions? Which figure poses will be the most powerful? What color combinations can be both novel and coherent? I believe these creative challenges will remain with me forever, and I will overcome them by continuing to paint and execute my ideas.
6. Tell us about your best experience in the art world so far.
My best experiences in the art world have always been about my friends and supporters who love my art. It is incredibly moving to meet friends who are fans of my art, who support me so much, and make it possible for me to continue painting. One of my friends in Brooklyn has been my longest-standing fan. I miss the times when she would visit my studio on campus, and we would talk for hours while I painted. Another friend I met through my thesis show—a friend of one of my classmates—has also been a great supporter. He attended my first solo show in Brooklyn and came to one of my group shows as well. I had some stickers made from my paintings, and he proudly put them on his laptop, which made me feel so proud of myself. These moments of connection with friends and supporters are what I treasure most in the art world.
7. What practical advice can you give to fellow artists?
One piece of practical advice I can offer is to follow your heart so you won’t have regrets later in life. This is something I learned in my early 20s. At that time, I realized that if I had stayed in the business field, I would have regretted not pursuing my passion for painting. Trusting your instincts and committing to what truly fulfills you can make all the difference, both in your art, and in your life.
Additionally, to avoid regrets, I believe you should not be afraid to experience as much as possible. You can try befriending someone who doesn’t fit your usual type, even if you may not remain friends after a few years. You might also discover a new talent in a field you’ve never tried before.
8. Is the artist life lonely? Please share your thoughts and experiences.
The artist’s life is not lonely. In fact, my life before becoming an artist felt lonelier because I had to focus on meeting others’ needs. Having a job and being an expert in any field often revolves around fulfilling customers’ expectations, especially in the business world. However, as a painter, my focus shifted inward—I now concentrate on my desires and perspectives on the world, as these are the essence of my art. By exploring and investigating myself, I’ve gained a deeper understanding of others as well, far beyond superficial needs.
Additionally, I am fortunate to have friends and mentors who understand my creative urges and the need to express something. They share opportunities and support me, making my life feel connected and fulfilling.
That said, I do feel solitude, but this stems from the inherent solitude of being human. This feeling deepens when I reflect on the fact that my existence is accidental, without any predetermined meaning. No one in the world is exactly like me; however, I am not the only one who feels this way. As an artist, I might experience solitude more intensely than most because it’s a recurring theme in my paintings, and I spend a lot of time contemplating it.
9. What are you working on at the moment and are there any upcoming events you would like to talk about?
At the moment, I am working on my series ‘In the Face of’, which I started last September. This series features portraits of characters with strings emerging from their eyes, exploring the theme of accepting the inherent anxiety that comes from living without innate meaning in life. I am currently expanding the series by including two characters in one painting to depict the interactions between people as they navigate the struggle for recognition—a way of attempting to overcome the vain and overwhelming freedom of existence, which is too free for one to stay sober.
I will participate in a group show in Woodstock, New York, in April, which is curated by the Woodstock Byrdcliffe Guild, where I went to a residency. I would love to invite anyone interested in my work to the show!
Except for that, I do not have any solid future events at the moment. I have focused more on publications recently; my work was featured in New Visionary Magazine Issue 13, and I was interviewed by Asian Art Contemporary. Regarding recent shows, I exhibited Imagined Mandarava, one of the early paintings in this series, in the group show Desire-Body Without Organs at A Space Gallery in Brooklyn. More works from this series, including Double Wick and Paradise Lost and Kidnapped, are featured in a virtual show, Mythologies, with Goddessarts Magazine. Additionally, three paintings were shown in the group show Real World in Manhattan. Thank you so much for reading this interview!
Website: https://www.yooyeonnam.com/
Instagram: @yooyeon_nam